Born in 1967 in Prague, Czech Republic
Lives and works in Norrtälje, Sweden


solo shows

- Galerie Perrotin, Paris (upcoming)

- Slottet, Galerie Magnus Karlsson, Stockholm
- Hello Stranger, Galerie Perrotin, Hong Kong

- Turning into Stone, Norton Museum of Art, Palm Beach, USA
- Underworld, Galerie Perrotin, New York
- Big Girl Now, Lehmann Maupin, New York

- Västerâs Konstmuseum, Västerâs, Sweden

- Wild Thought, Galerie Perrotin, Paris, France
- Göteborgs Konstmuseum, Göteborg, Sweden
- Bonniers Konsthall, Stockholm, Sweden

- Sounds of Dogs and Youth, Lehmann Maupin Gallery, NY, USA
- New Work: Tiago Carneiro da Cunha and Klara Kristalova, SFMOMA, San Francisco, USA

- FIAC booth, Galerie Perrotin, Paris
- Galleri Magnus Karlsson, Stockholm

- Museum Site Santa Fe, USA
- Where the owls spend their days, Galerie Alisson Jacques, London, UK

- Frieze Art Fair booth, Galerie Perrotin, London, UK
- Short Stories, Galerie Perrotin, Paris, France

- Two dark holes and other stories, Galerie Perrotin, Miami, USA
- Catastrophes and other everyday events, Galleri Magnus Karlsson, Stockholm, Sweden
- Visit, Härnösands Konsthall, Sweden

- Galleri Magnus Karlsson;Stockholm, Sweden
- Galleri PS, Göteborg, Sweden
- Teatergalleriet, Uppsala, Sweden

- Galleri Magnus Karlsson, Stockholm, Sweden

- Olle Olsson huset, Hagalund, Solna, Sweden

- Galleri PS, Göteborg, Sweden

- Galleri Axel Mörner, Stockholm, Sweden

- Galleri TRE, Stockholm, Sweden

- Galleri PS, Göteborg, Sweden

- Bror Hjorts hus, Uppsala, Sweden
- Galleri Mejan, Stockholm, Sweden

group shows

- Yellow Creature - Aspekte der transformation, Kunstmuseum Luzern, Luzern, Switzerland
- Les Imaginaires d'un monde in-tranquille, Abbaye Saint-André/Centre d'art contemporain, Meymac, France
- Kunstforeningen GL Strand, Copenhagen

- In the Search of Present, Museum of Modern Art, Helsinki, Finland
- Ceramix, Cité de la Céramique, Sèvres, France
- Generosity: On the Art of Giving, National Gallery, Prague, Czech Republic

- Ceramix, Bonnefantenmuseum, Maastricht, Netherlands
- Art Park Ordrupgaard, Charlottenlund, Denmark
- Prague City Gallery, Czech Republic

- I Like it! What is it ?, Kulturhuset, Stockholm, Sweden

- Body and Soul: New International Ceramics, Museum of Art and Design, New York ; Museum of Contemporary Art, Miami, USA
- Time Waits for Us, Galleri Magnus Karlsson, Stockholm, Sweden

- The magic of clay, Glholtgaard Muaseum, Holte, Danemark

- Larger than life – Stranger than fiction, 11eme Fellbach Small Sculpture Triennial, Germany
- The House In My Head, Kunsthallen Brandts, Odense, Denmark
- Soft white blues, Kunstvereniging, Diepenheim, Netherlands

- 12 Suedoises sur la 14, Métro Pyramides, ligne 14, Paris, France
- Le Sang d'un poète, Biennale Estuaire Nantes / Saint-Nazaire (commissariat Frac des Pays de la Loire & Adam Budak), France
- L'artiste sorcier, Fondation Salomon pour l'art contemporain, Annecy, France
- An Expanded Field of Opportunities Santa Barbara Contemporary Arts Forum, Santa Barbara, USA

- Past, Present, Future Perfect: Selections from the Ovitz Family Collection, H&R Block Artspace, Kansas City, USA
- Effigies, Stuart Shave Modern Art, London, UK
- Makers & Modelers: Works in Ceramic, Barbara Gladstone Gallery, New York, USA
- Privat skulptur, Studio 44, Stockholm, Sweden
- Barnet i samtidskonsten, Haninge Konsthall, Stockholm, Sweden
- Grönska, Mjellby Konstmuseum, Halmstad, Sweden
- 20 år Bonniers konsthall, Stockholm, Sweden

- Among gnomes and trolls, Galleri Magnus Karlsson, Stockholm, Sweden
- Grönska, Kristinehamns Konstmuseum, Sweden

- The gallery, Galleri Magnus Karlsson, Stockholm, Sweden
- Svensk Konst Nu, SAK on tour; Kalmar Konstmuseum, Konstens Hus, Luleå, Länsmuseet, Gävleborg, Skövde Konsthall, Sweden

- Talking to me? Rauma Biennale Balticum, Finland
Galleria Becker, Jyväskylä, Finland

- 4 Förslag, Statens Konstråds galleri, Stockholm, Sweden

- Blir du lonesome lille vän, Konstnärshuset, Stockholm, Sweden

- The World of Flash, The Nunnery, London, England, UK
- Sveriges Allmänna Konstförening, Stockholm

- Skövde Konsthall, Skövde; Sweden
- Norrtälje Konsthall, Norrtälje, Sweden
- Edition, Galleri Magnus Karlsson, Stockholm, Sweden

- Galleri Doktor Glas, Stockholm, Sweden
- Art Farm, Åland, Finland
- Networking, P-house, Tokyo, Japan

- The Bible of Networking, Sali Gia Gallery, London, UK
- The Bible of Networking, Konstakuten, Stockholm, Sweden
- Underbelly, Adelaide, Australia
- Galerie Eboran, Salzburg, Austria
- Skulptur, Pythagoras Industrimuseum, Norrtälje, Sweden

- Unga tecknare, Nationalmuseum, Stockholm, Sweden

- Shaking patterns, W135, Amsterdam, Holland
- En öppning, Skövde Konsthall, Skövde, Sweden
- Stockholm Smart Show, Galleri TRE, Stockholm, Sweden
- Norrtälje Konsthall, (med Eva-Maria Ern), Norrtälje, Sweden

- Stockholm Smart Show, Galleri TRE, Stockholm, Sweden
- Åtta fynd, Heland Wetterling Gallery, Stockholm, Sweden
- Det dubbla arvet, Hallwylska palatset, Stockholm, Sweden
- Galleri S:t Olof, (med Ingela Johansson), Norrköping, Sweden

public collection

- FNAC - Fonds National d'Art Contemporain, Paris, France
- Moderna Museet, Stockholm, Sweden
- Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, USA
- EMMA - Espoo Museum of Modern Art, Espoo, Finland
- Norton Museum of Art, West Palm Beach, USA 
- NSU Art Museum, Fort Lauderdale, FL, USA 
- Nationalmuseum, Stockholm, Sweden
- Norrköpings Konstmuseum, Sweden
- Västerås Konstmuseum, Sweden
- Bror Hjorts Hus, Uppsala, Sweden
- Skövde Konstmuseum, Sweden
- Norrtälje Kommun, Sweden
- Sundsvalls Konstmuseum, Sweden
- Statens Konstråd /The National Public  Art Council, Sweden
- Me Collectors Room - Olbricht Collection, Berlin, Germany
- Rubell Family Collection, Miami, USA 
- Zabludowicz Collection, London, UK

Public Commissions

- Invitated to competition for memorial over Carl v.Linne, Lund, Sweden, 2007
- Memorial in public garden-park, Tungelsta, Stockholm, Sweden, 2006
- Sculpture in residental area, Svedmyra, Stockholm, Sweden, 2006
- Public sqare, design and sculpturegroup, Falkenberg, Sweden, 2005
- Sculpture group for garden, Östersunds University, Sweden, 2004
- Entrance to Karlstad public park, Sweden, 2004
- Fysikcentrum, Kungliga Tekniska Högskolan, Stockholm, Sweden 2001
- Hässelby Strand, Stockholm, Sweden, 2000
- Uppsala Akademiska Sjukhus, Sweden, 1998
- Väggskulptur i Norrtälje Badhus, Sweden, 1995

Klara Kristalova - Sculptures/Sculpturer

Klara Kristalova - Sculptures/Sculpturer


$5.54 Excluded VAT

Klara Kristalova

Klara Kristalova


$32.13 Excluded VAT

Klara KRISTALOVA - Klara Kristalova

Klara KRISTALOVA - Klara Kristalova


  • May 2016
    Hypebeast — 1 PAGE

  • May 2016
    New Monday — 1 PAGE

  • June 2014
    Art in America — 1 PAGE

  • April 2014
    New York Observer — 1 PAGE

  • March 2014
    Whitewall — 2 PAGES

The Meaningful Hedgehog

by Anders Olofsson

Klara Kristalova is a storyteller who uses the plasticity of sculpture to build small micro worlds, where something peculiar has just happened or is about to happen. Here she relates to a sculpture tradition that has its roots several hundred years in the past.

Kristalova is part of the generation that acquired a higher artistic education in the late 80’s and early 90’s, during a period when modernism was seriously challenged. Her works, however, have never shown any tendency towards a programmatically motivated spirit of revolt. This can to some extent be explained by the fact that she is the daughter of Eugen Krajcik, a Czech artist in exile with an anything but dogmatic attitude towards the conventions of modern art. But this has even more to do with Kristalova’s consistent ambition to lower the highbrow tone inherent in most artistic expressions.

Kristalova steers clear of the rhetorical aspects of art, and instead deals with the small narratives, dreams and nightmares that everyday life is full of. She is drawn to an invisible part of everyday existence, to a realm where our expectations take shape, where neuroses bloom and memories mutate. This often results in her work acquiring a bizarre, slightly unsettling quality. Who would, after all, want to come face to face with the physical embodiment of one’s own inner demons?

Kristalova proceeds in a very psychological manner. She normally chooses materials (plaster, bronze, wood and ceramics) and proportions associated with traditional decorative arts found in environments differing radically from the white cube. This compels us to communicate closely with the artworks, thereby making it virtually impossible for us to recoil as we are overwhelmed by their significance. And significance and meaning are precisely what Kristalova aims to convey with her art. Here it is not a question of presenting prefabricated conceptions of life, but rather of creating the means by which the ambiguous nature of what one is looking at becomes a resource. A wall with a peeking man’s face incorporated among the stones, or two hedgehogs in bronze, involved in a strange interaction where the one is lying helplessly on his back and the other stands presumably guilty – as artworks these pieces may perhaps be visually neutral, but far from meaningless.

extract from the catalogue "Le sang d'un poete"

by FRAC Pays de la Loire

The first surprise is the use of colour. The glazed finish gives a shine to each of the figures. This paint on the sculpture is obtained after firing, after being in the kiln. It is one of the charms of these miniature productions. The iridescent effect provides a diaphanous appearance of drifting. The preparatory sketches are very similar to the final output. The ink is wet, smudging. In an unwitting watercolour, rings stain the paper.

Lachrymal heroines, Klara Kristalova’s figures call upon our entire store of common mythology. They are a combination of male and female, and are at the same time victims and executioners. How can the Ophelia of Millais (a British nineteenth-century artist) not spring to mind when heads are rolling on the ground like footballs, their tongues giving up the ghost? At ground level, raven-black hair lets a blue reptilian tongue stick out from the face. This severed head calls to mind the duo, Judith and Holofernes; to save her city the fair Judith had no qualms about seducing the Assyrian general and beheading him in his sleep. (…) Creatures of transfer and transformation, they evolve into otherness. Somewhere between dream and nightmare, reality and fiction, humanity and animality, idealisation and monstrosity, part and whole, they form an eccentric portrait gallery. The severed heads are not without some hint of Northern Europe. They bring us closer to the most famous of Denmark’s princes, Hamlet himself. The stuff of meditation, these conceits allow viewers to let their minds wander and to immerse themselves once more into the world of the cruel tales of our childhood.